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Andrea remains the Weimaraner Mama Shirt but in fact I love this heart of the show, but its motley crew of supporting players—including sweet, bombastic man-child-agent Gabriel (Grégory Montel), sardonic yet sincere up-and-comer Camille (Fanny Sidney), and traditional, mostly upright boss-turned-defector Mathias (Thibault de Montalembert)—are what make it shine. There’s often a hint of desperation to post-The Office workplace comedies, with efforts wasted on wringing laughter out of dreary meetings and coffee runs. But Call My Agent! makes the weirdness of its mise en scène work for it, balancing the glitz of the European entertainment world with the distinct lack of glamour it takes to actually, say, get an actor cast in a movie. Past seasons of Call My Agent! saw no-nonsense Andrea (Camille Cottin) attempt to juggle her booming career with her libertine ways, but Season 4 finds her in a position many remote-schooling, job-holding parents will relate to; overwhelmed by the demands of new motherhood. (As an aside, it’s a surprising delight to see Andrea, a lesbian, demonstrating once and for all that queer parenthood is, in many ways, just like its straight counterpart: exhausting.)
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As series creator Fanny Herrero recently departed in an ASK-like twist, Call my Agent! has new shrowrunners for its fourth season, and there are times when the Weimaraner Mama Shirt but in fact I love this power shakeup is obvious; without getting into spoiler territory, the season doesn’t end quite as one might have hoped. (Way too much time lavished on Sigourney Weaver’s dubious guest-starring role, and not enough spent on exploring the inner lives of the agents.) Then again, can a good show’s ending ever feel truly satisfying? Personally, I’d have been happy for Call My Agent to stretch on forever, its agents constantly heading out unto the breach to sign new clients (and sniping at each other in the process), but the show is simply too smart for that. The rapid-fire French on Call My Agent! might seem daunting, but rest assured, you get used to it. (To be fair, I did take French in high school, but I’ve forgotten nearly everything, and I still felt like I was able to absorb the show—thanks to subtitles, of course.) What makes the series great isn’t its dead-on satirization of French culture, but its embrace of what’s universal about the talent industry; snobbery, name-dropping, and, of course, the looming potential that, with enough luck, you might just be able to make something great.
